Tory Lanez may have never had the chance to star in his own '80s teen movie, but he still gets to live out his electric dreams. The Brampton, ON rapper and singer's sixth and most surprising album, Alone At Prom, is his impeccably crafted tribute to a decade revered by later generations for all its bright, shiny sounds. Citing Michael Jackson, Rick James, Toto, and Daryl Hall & John Oates as key influences for these self-penned songs, Lanez isn't bashful about his inspirations. Produced by a team that includes Chaz Jackson, Orlando tha Great, and King Midas, the nostalgic-minded music boasts a high shine and pop immediacy that initially make it seem like a far cry from the trap-infused R&B that had been Lanez's signature sound on albums such as 2018's LoVE me NOw. Yet anyone who can peer beyond the neon glare of "Enchanted Waterfall" and "Pink Dolphin Sunset" will see that the period trappings are not so much a departure as a means to emphasize everything that makes Lanez's music so arresting already. It’s clear in the brooding and bravado he combines on "The Color Violet," the urgency that underlies "Lady of Namek," and the yearning that fills "Hurt From Mercury" and "'87 Stingray." However unexpected, the strategy also yields some of Lanez's most exhilarating songs to date. Seemingly tailor-made for a workout montage in an unmade sequel to Flashdance, "Ballad of a Badman" bursts with energy thanks to the song's irrepressible drive and generous supply of vintage-'80s sax. A nimble piece of funk-pop with just the right amount of smooth appeal, "Last Kiss of Nebulon" is just as exuberant. Powered by a sample from Madonna's "Into the Groove," "Pluto's Last Comet" proves that Lanez can repurpose the decade's melodies, rhythms, and sonic signifiers with the same flair that he displays when reworking his '90s R&B inspirations on his mixtapes.